The Cambria freeman. [volume] (Ebensburg, Pa.) 1867-1938, 1887-08-19
LIKE HIS WORK.

II was habit the master had, this of
entering the various churches he passed
on his way through the streets OF the
Spanish capital. But the visits apparent
ly gave him little pleasure, for he always
emerged into the street again inveighing
against the barbaric want of taste dis
played by the Castilian friars in their
sacred edifices.
To-day the bare dismantled interior of
the church to which he had penetrated
offered him less inducemcnt than usual
10 hngcr-
He was about to depart when his eyes
happened 10 fall upon 4 canvas half hid
den in the gloom of a tawdry chapel
Rusens advanced quickly, stopped
before the painting and suppressed cry
of amazement
His pupils were around him in an in
slant
What is il, master ?"
"LOok-lOok there" said the author OF
the Descent from the Gross, and pointed
TO the canvas.
Ia represented the death of n monk.
The monk was young, and his face had
n beauty which neither long penance,
nsr fasting, nor the throcs Oi death
had succeeded in obscuring- He Law
on the bare bricks of his cell, the one
hand graSplng \ skull, the other press
ing wooden crucitiK to his breast, and
ever his eyes the death 1ilm had gath
cred.
In the background of this picture there
was second one. 1t hung over the
narrow pallet, from which one inferred
the monk had risen, to die with greater
humility on the bare floor. Ii represent
Ell beautiful woman stretched on a bier
shrouded in sumptuous black draperies,
and with the light of wax tapers in tall
candIestlcks streaming IN her dead face.
As the eye rested on these two
scenes, the one contained in the other.
the meaning OF each, the fact that one
comPlcmentcd, completed and explained
the other, forced itself clearly on the
mind
An unhappy love, dead hopes, blight
cd life, renuncIation of the world-this
was the mysterious drama reproduced on
the canvas At which Rubens and his
pupils now gazed-
And IN drawing in coloring, in compo-
sItIon, the picture attested the hand OF \
genius
who can have painted this magnifi-
cent work, master r'' came in A chorus
from the masters pupils
There has evidently been signature
IN this corner said RubenS. but IL has
been erased, and quite lately, l should
judge The picture Is not more than
thirty years old, | think, nor less than
- ~ AAAt- stAAl44bTr luNGlnK IRON
the merit OF the work, he might be Vel
aSquez, Zubaran, Riber.t, or that youn,
genius, MUrIllo. ot whom | am 50 much
enamoured. But Velasquez does not con-
celEe thlngS IN tins way nor sthc color
ing or composition in Zurbaran's man
ner- MurillO Is more tender, and Rib.r,
has u more soInbre style; besides. the
work does not belong TO the school of
either
NO, / do not know the author, am
sure, and | should be willing TO affirm
that have never before seen any of his
work | 90 still further | do not be-
heve the artist, unknown and perhaps
no longer living, who has given the
world this wonderful legacy, ever be-
longed 10 any school, or ever painted
anything but this one picture, or ever
could have painted another which would
have approached it in point Of merit.
Tins Is work of inspiration, 4 personal
ahalr, reflex OF the soul, piece out OF
a man lie. But what conception
DO you want TO know vSho painted this
picture Well, that dead monk there.''
Master, YOU are joking"
-'NO, no, / know what l say. To ioin
certain mOnastic orders, You know. is 10
die, to all lntents and PurPOses-to die 10
the world.
'Ah, YOU think"
Il think the woman stretched on that
bier there WAS the soul and life Of that
monk, that when she died il WAS his
death too; that he did die, in point of
fact 10 the world, from that moment. /
believe this work represents his spiritual
dying To the world Of its author rather
than his natural death. Accordingly
he may still be living to-day, and rs In
thirty years time the traces of many 4
tragic episode have chance to become
ehaced, l should not wonder II all if he
were very lat and Jolly old gentleman
We must certainly look him up, and.
above all, find out If he ever painted
anything else"
An elderly monk was knecling in an
adjacent chapel. Rubens approached
and asked him where he could find the
prior Of the convent The monk rose TO
his feet with some difficulty
Il am the prior he said in low,
rather broken voice
Pardon me, father, for interrupting
your dcvOtIOns," said Rubens with the
bright courtesy which lent so great a
charm 10 his manner; but can Won
tell me who IS the author OF that pic
ture >"
''Of that picture? What will Won
think OF me ii tell you l have forgot
ten -
What! You know, and you have
forgotten -
"les, my son. I have forgo ten - for
gotten completely"
Your memory is poor, father" cried
RubenS with an indignant tone of irony
he did not try To suppress.
The prior turned from him without |
answer, and knelt down As before.
Father, am here in the name Of the |
king, said Rubens haughtily. The |
Dam Dsr.d pf ro,-altN- ,,-a.
cuStOmet 70 this sort of treatment.
The monk slowly raised his head.
What more do YOU wish, nv son %
i wish u buy that picture"
1T cannot be sold my son"
Then tell me, at least, where It's
luthpr may be found. The king will |
want to know him, and [ must con-
,ratulatc him, tell him Of nay admira-
ion"
"All that cannot be-. The author is no
ongcr OF this world
Not dead, father-not dead : And no
ne knew hina-his name has been for
often T! IL should have been immortal
I would nave eC.Ipscd mine am IeIer
Rubcns, father he added simply.
At this famous name familiar all over
he civilized world. and connected in the
leart OF every man leading a monastic
lie with innumerablc religious paintings
Il marvellous beauty, the prior'S pale face
Iu>hed, and his sunken eyes fixed them
elves on the strangers face with i look
4 vcneration and surprise.
"Ah, / see that YOU know me =" cried |
subens, smiling with naive satisfaction.
Well, perhaps you will treat me better
ow. 30, then-will You sell me that
icture ~
Il must repeat it is impossible"
4 L < ]